LEE RITENOUR — Rhythm Sessions (2012) FLAC (tracks+.cue), lossless

Lee Ritenour's Rhythm Sessions is, in a roundabout way, a companion album to 2010's Six String Theory. For that record, he sought out a slew of guitar greats to celebrate their joint love for the instrument. Here, Ritenour assembles another top-flight cast for a set of tunes that range from fusion to pop, from contemporary jazz to post-bop and more. "The Village" places the guitarist with George Duke, Stanley Clarke, drummer Dave Weckl, and percussionist Munyungo Jackson. The fusion groove is nocturnal, slippery, even bluesy. Kurt Elling joins Dave Grusin, Nathan East, and Will Kennedy for an elegant reading of Nick Drake's "River Man." Ritenour's revisioning of Herbie Hancock's "Fat Albert Rotunda" showcases just how savvy he is at adapting a jazz-funk classic for the 21st century without sacrificing its vigor. The band -- Patrice Rushen on acoustic piano with Debron Johnson on Rhodes, Marcus Miller and Melvin Lee Davis on basses, Rob Bacon on rhythm guitar, and Oscar Seaton on drums -- rock it up a bit while keeping the ensemble and rhythmic interplay fluid, yet firmly in the pocket. Ritenour surprises by including two tunes by the European piano trio E.S.T.: "800 Streets by Feet" and "Spam-Boo-Limbo." In both cases, he uses the harmonic elasticity of the originals to dig inside their hardwired, interlocking grooves. He reveals them as rife for contemporary jazz as well as post-bop. Chick Corea stars on his own shimmering "Children's Song," with Ritenour playing classical guitar augmented by drummer Peter Erskine and Chuck Bergdorfer on bass. This set is not all cover tunes, however; Ritenour contributes three fine compositions -- "July" (a breezy little funk tune with excellent bass work by Melvin Davis), "Rose Pedals" (a crossover classical jazz piece), and "Dolphins Don't Dance" (a limber, Latin-tinged modern jazz tune with Larry Goldings on B-3). The set closer is a reading of Grusin's elegant, R&B-flavored "Punta del Soul," featuring the three young winners of his Six String Theory Guitar & Rhythm Section Competition. Rhythm Sessions underscores Ritenour's ability to place himself in any jazz ensemble -- he's almost chameleon-like -- without sacrificing his unique voice or ability as a soloist. This utterly unique recording in the contemporary jazz genre is a fine showcase for his skills as a bandleader.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1.    The Village  5:06
Acoustic Bass – Stanley Clarke
Arranged By – Lee Ritenour
Drums – Dave Weckl
Electric Piano [Fender Rhodes], Synthesizer [Moog] – George Duke
Guitar – Lee Ritenour
Percussion – Munyungo Jackson
Synthesizer, Programmed By – Ariel Mann
Written-By – Lee Ritenour
2.    River Man  4:35
Arranged By – Ariel Mann, Dave Grusin, Lee Ritenour
Bass – Nathan East
Drums – Will Kennedy
Electric Piano [Fender Rhodes] – Dave Grusin
Guitar – Lee Ritenour
Synthesizer, Programmed By – Ariel Mann
Vocals – Kurt Elling
Written-By – Nick Drake
3.    Fat Albert Rotunda  4:43
Arranged By – Lee Ritenour
Drums – Oscar Seaton
Electric Bass – Marcus Miller, Melvin Lee Davis
Electric Piano [Fender Rhodes] – Deron Johnson
Guitar – Lee Ritenour
Percussion – Munyungo Jackson
Piano [Acoustic] – Patrice Rushen
Rhythm Guitar – Rob Bacon
Synthesizer, Programmed By – Ariel Mann
Written-By – Herbie Hancock
4.    800 Streets By Feet  3:25
Acoustic Bass – Christian McBride
Arranged By – Ariel Mann, Lee Ritenour
Drums – Wesley Ritenour
Guitar – Lee Ritenour
Guitar, Keyboards, Synthesizer, Programmed By – Ariel Mann
Written-By – Dan Berglund, Esbörn Svensson, Magnus Öström
5.    Children's Song #1  5:16
Acoustic Bass – Chuck Berghofer
Arranged By – Lee Ritenour
Classical Guitar – Lee Ritenour
Drums – Peter Erskine
Piano – Chick Corea
Piano [Additional] – Alan Pasqua
Synthesizer, Programmed By – Ariel Mann
Written-By – Chick Corea
6.    La By Bike  5:44
Arranged By – Lee Ritenour
Bass – Melvin Lee Davis
Drums – Sonny Emory
Electric Organ [Hammond B3] – Larry Goldings
Guitar – Lee Ritenour
Synthesizer, Programmed By – Ariel Mann
Written-By – Lee Ritenour
7.    Maybe Tomorrow  3:41
Arranged By – Ariel Mann, Lee Ritenour
Bass Guitar – Tal Wilkenfeld
Drums – Vinnie Colaiuta
Engineer [Additional] – R.J. Benjamin
Guitar – Lee Ritenour
Keyboards, Synthesizer, Programmed By – Ariel Mann
Vocals – Zamajobe
Written By – Benjamin Einziger, George Purviance, Paul Fried, Stephanie Eitel
Written-By [Uncredited] – Kelly Jones
8.    Spam-Boo-Limbo 4:01
Arranged By – Ariel Mann, Lee Ritenour
Bass – Tal Wilkenfeld
Drums – Vinnie Colaiuta
Guitar – Lee Ritenour
Piano – John Beasley
Synthesizer, Programmed By – Ariel Mann
Written-By – Dan Berglund, Esbörn Svensson, Magnus Öström
9.    July  4:54
Arranged By – Lee Ritenour
Drums – Sonny Emory
Electric Bass – Melvin Lee Davis
Electric Organ [Hammond B3] – Larry Goldings
Guitar – Lee Ritenour
Synthesizer, Programmed By – Ariel Mann
Written-By – Lee Ritenour
10.    Rose Pedals  3:53
Arranged By – Lee Ritenour
Bass [Yamaha Silet Bass] – Nathan East
Drums – Will Kennedy
Guitar – Lee Ritenour
Piano [Acoustic] – Dave Grusin
Synthesizer, Programmed By – Ariel Mann
Written-By – Lee Ritenour
11.    Dolphins Don't Dance  6:50
Arranged By – Lee Ritenour
Drums – Peter Erskine
Electric Organ [Hammond B3], Pedalboard [Bass Pedals] – Larry Goldings
Guitar – Lee Ritenour
Piano [Acoustic] – Alan Pasqua
Synthesizer, Programmed By – Ariel Mann
Written-By – Lee Ritenour
12.    Punta Del Soul  5:29
Acoustic Bass, Electric Bass – Michael Feinberg
Arranged By – Lee Ritenour
Drums – Selim Munir
Electric Organ [Hammond B3] – Hans De Wild
Guitar – Lee Ritenour
Piano [Acoustic], Arranged By [Additional] – Demetrius Nabors
Written-By – Dave Grusin

GEORGE BENSON & AL JARREAU — Givin' It Up (2006) FLAC (tracks+.cue), lossless

Givin' It Up finds crossover jazz icons guitarist George Benson and vocalist Al Jarreau teaming up for a breezy, enjoyably melodic session that highlights both artists' long careers. Technically a duo album, it is Benson's first since signing with Concord Records. As such, it works as a nice reintroduction to both artists and even finds them reworking the Bobby Womack classic "Breezin'," which Benson originally covered on his 1976 album of the same name. Here listeners get Jarreau adding lyrics and vocals on a version that really evokes the classic '70s jazz-meets-R&B sound that was an original hallmark of smooth jazz. In that sense, Givin' It Up is a true joy for fans of that more organic, song-oriented approach to crossover music, with Benson and Jarreau digging in to such great songs as Seals & Crofts' "Summer Breeze," John Legend's "Ordinary People," and Darryl Hall's "Every Time You Go Away." Also adding some unexpected fun and celebrity sheen to the proceedings is an impromptu appearance by Paul McCartney, who joins in on Sam Cooke's gospel-inflected "Bring It on Home to Me." Throw in appearances by trumpeter Chris Botti, vocalist Patti Austin, pianist Herbie Hancock, and bassist Marcus Miller and Stanley Clarke, and Givin' It Up proves music is always fun with a little help from your friends. Matt Collar 
Tracklist :
1 – Breezin' 5:40

Arranged By – Larry Williams

Drums – Vinnie Colaiuta
Electric Bass – Abraham Laboriel
Guitar – Dean Parks, George Benson, A. Ray "The Weeper" Fuller
Keyboards – Larry Williams
Percussion – Paulinho Da Costa
Vocal Percussion – Al Jarreau
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Bobby Womack
2 – Mornin' 5:02
Arranged By – Michael Broening
Backing Vocals, Vocal Percussion – Al Jarreau
Bass – Mel Brown
Drums – Michael White
Guitar – Freddie Fox, George Benson
Keyboards, Piano, Programmed By [Programming] – Michael Broening
Producer – John Burk, Michael Broening
Saxophone – Marion Meadows
Written-By – Al Jarreau, David Foster, Jay Graydon
3 – 'Long Come Tutu 6:37
Arranged By – Marcus Miller
Bass – Marcus Miller
Co-producer – Marcus Miller
Drums – Michael White
Guitar – George Benson
Keyboards – Patrice Rushen
Piano – Herbie Hancock
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Marcus Miller
4 – God Bless The Child 3:40
Featuring Jill Scott
Arranged By – George Benson, John Burk, Patrice Rushen
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Electric Piano – Patrice Rushen
Guitar – George Benson
Vocal Percussion – Al Jarreau
Vocals – George Benson, Jill Scott
Written-By – Arthur Herzog, Jr., Billie Holiday
5 – Summer Breeze 5:01
Arranged By – Larry Williams
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Guitar – Dean Parks, George Benson, A. Ray "The Weeper" Fuller
Keyboards, Piano – Larry Williams
Percussion – Paulinho Da Costa
Vocals – Al Jarreau, George Benson
Written-By – Darrell Crofts, Jimmy Seals
6 – All I Am 3:23
Arranged By – Rex Rideout
Drums – Gregg Field, Ricky Lawson
Electric Bass – Abraham Laboriel
Electric Piano – Patrice Rushen
Guitar, Vocals – George Benson
Piano – Rex Rideout
Written-By – Phillip "Taj" Jackson, Rex Rideout
7 – Ordinary People 5:18
Arranged By – Michael Broening
Backing Vocals – Al Jarreau, George Benson
Bass – Mel Brown
Drums – Michael White
Guitar – Freddie Fox, George Benson
Keyboards, Piano, Programmed By [Programming] – Michael Broening
Producer – John Burk, Michael Broening
Written-By – John Legend, will.i.am
8 – Let It Rain 4:54
Featuring Patti Austin
Arranged By – Al Jarreau, Barry Eastmond
Arranged By [Background Vocals] – Patti Austin
Backing Vocals – Darlene Perry, Lorraine Perry, Maxi Anderson, Patti Austin, Sandra Simmons Williams, Sharon Perry, Valerie Pinkston
Bass – Marcus Miller
Drums – Vinnie Colaiuta
Electric Piano – Patrice Rushen
Guitar – George Benson
Keyboards – Barry Eastmond
Percussion – Bashiri Johnson, Paulinho Da Costa
Producer – Patti Austin
Producer [Additional Production] – Barry Eastmond, Gregg Field
Rhythm Guitar – Dean Parks
Trumpet – Chris Botti
Vocals – Al Jarreau, Patti Austin
Written-By – Al Jarreau, Barry Eastmond
9 – Givin' It Up For Love 3:57
Arranged By – Freddie Ravel
Arranged By [Background Vocals] – Fred Martin, Freddie Ravel
Backing Vocals – Alethea Mills, Chavonne Morris, De'Ante Duckett
Clavinet, Drums, Electric Piano, Organ, Programmed By [Percussion], Synthesizer [Moog Bass], Synthesizer – Freddie Ravel
Guitar – George Benson
Producer – Freddie Ravel, John Burk
Rhythm Guitar – Michael O'Neill
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Freddie Ravel
10 – Every Time You Go Away 4:30
Arranged By – Larry Williams
Bass – Marcus Miller
Co-producer – Larry Williams
Drums – Vinnie Colaiuta
Guitar – Dean Parks, George Benson, Michael Thompson
Keyboards – Patrice Rushen
Percussion – Paulinho Da Costa
Piano – Larry Williams
Vocal Percussion – Al Jarreau
Vocals – Al Jarreau, George Benson
Written-By – Darryl Hall
11 – Four 5:15
Bass – Stanley Clarke
Co-producer – Chris Dunn
Drums – Vinnie Colaiuta
Guitar – George Benson
Piano – Patrice Rushen
Vocals – Al Jarreau, George Benson
Written-By – Jon Hendricks, Miles Davis
12 – Don't Start No Schtuff 4:44
Arranged By – Joe Turano
Bass – Stanley Clarke
Drums – Vinnie Colaiuta
Electric Piano, Organ – Joe Turano
Guitar – George Benson
Keyboards – Patrice Rushen
Vocals – Al Jarreau, George Benson
Written-By – Al Jarreau, Joe Turano
13 – Bring It On Home To Me 4:25
Featuring Paul McCartney
Arranged By – Randy Waldman
Arranged By [Background Vocals] – Fred Martin
Backing Vocals – Alethea Mills, Chavonne Morris, De'Ante Duckett
Drums – Vinnie Colaiuta
Electric Bass – Abraham Laboriel
Electric Piano – Patrice Rushen
Guitar – Dean Parks, George Benson
Organ – Michael Broening
Percussion – Paulinho Da Costa
Piano – Randy Waldman
Vocals – Al Jarreau, George Benson, Paul McCartney
Written-By – Sam Cooke

AL JARREAU — My Old Friend : Celebrating George Duke (2014) FLAC (tracks+.cue), lossless

Al Jarreau got his start playing in a jazz trio led by pianist/keyboardist George Duke, so it is fitting that Jarreau pays tribute to Duke, who passed away in 2013, on his 2014 album My Old Friend: Celebrating George Duke. It was while working as a vocal rehab counselor at a hospital in San Francisco in the late '60s that Jarreau began singing with Duke's trio. It was also due in part to the popularity of these early performances that both musicians' storied solo careers were launched. On My Old Friend: Celebrating George Duke, Jarreau delves into a batch of Duke compositions with a select group of guest artists, many of whom also had connections to Duke. Joining Jarreau here are such luminaries as Gerald Albright, Lalah Hathaway, Jeffrey Osborne, Dianne Reeves, and others. Similarly, backing Jarreau at various times is a superb ensemble of musicians including bassist Stanley Clarke (who also produced the album), keyboardists John Beasley and Patrice Rushen, guitarist Paul Jackson, Jr., and drummer John "J.R." Robinson. In fact, Duke himself makes an appearance here via the wonders of modern technology on the languidly romantic "Bring Me Joy." Elsewhere, Jarreau turns his sonorous, joyful voice to such Duke songs as "Sweet Baby," "No Rhyme, No Reason," "You Touch My Brain," and more. Ultimately, My Old Friend: Celebrating George Duke is a heartfelt tribute album that, as with many of Jarreau and Duke's previous albums, feels fresh, warm, and full of love. Matt Collar  
Tracklist :
1 My Old Friend 4:57
Backing Vocals – Jeffrey Osborne, Katriz Trinidad, Patrick Lundquist, Porcha Clay
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Gerald Albright
Guitar – Paul Jackson Jr.
Keyboards, Piano – Patrice Rushen
Producer – John Burk, Stanley Clarke
Saxophone – Gerald Albright
Vocals – Al Jarreau
Written-By – John Lang, Richard Page, Steve George
2 Someday 4:21
Bass – Marcus Miller
Drums – John Robinson
Featuring – Dianne Reeves
Guitar – Jubu
Keyboards – John Beasley
Producer – John Burk, Marcus Miller
Vocals – Al Jarreau, Dianne Reeves
Written-By – George Duke
3 Churchyheart (Backyard Ritual) 4:56
Bass, Bass Clarinet, Programmed By – Marcus Miller
Drums – John Robinson
Featuring – Marcus Miller
Guitar – Jubu
Keyboards – John Beasley
Lyrics By – Al Jarreau
Music By – George Duke
Producer – John Burk, Marcus Miller
Trumpet – Mike Cotton
Vocals – Al Jarreau
4 Somebossa (Summer Breezin') 4:41
Backing Vocals – Patrick Lundquist
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Gerald Albright
Guitar – Paul Jackson Jr.
Keyboards – Greg Phillinganes
Lyrics By – Al Jarreau, George Duke, Patrick Lundquist
Music By – George Duke
Percussion – Lenny Castro
Producer – John Burk, Stanley Clarke
Saxophone – Gerald Albright
5 Sweet Baby 4:31
Backing Vocals – Patrick Lundquist
Bass, Backing Vocals – Stanley Clarke
Drums – John Robinson
Featuring – Lalah Hathaway
Guitar – Paul Jackson Jr.
Keyboards, Piano – Greg Phillinganes
Percussion – Lenny Castro
Producer – John Burk, Stanley Clarke
Vocals – Al Jarreau, Lalah Hathaway
Written-By – George Duke
6 Every Reason To Smile / Wings Of Love 3:51
Backing Vocals – Fred Martin, Katriz Trinidad, Patrick Lundquist, Porcha Clay
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Jeffrey Osborne
Guitar – Paul Jackson Jr.
Keyboards, Piano – Patrice Rushen
Producer – John Burk, Stanley Clarke
Vocals – Al Jarreau, Jeffrey Osborne
Written-By – George Duke, Jeffrey Osborne, Peter Schless, Stanley Clarke
7 No Rhyme, No Reason 4:05
Drums – Rob Bacon
Featuring – Kelly Price
Keyboards – Brandon Coleman
Percussion – Lenny Castro
Producer – Boney James
Programmed By – Boney James
Vocals – Al Jarreau, Kelly Price
Written-By – George Duke
8 Bring Me Joy 4:36
Bass – Alex Al
Drums – Omari Williams
Featuring – Boney James, George Duke
Guitar – Rob Bacon
Keyboards – George Duke
Percussion – Lenny Castro
Producer – Boney James
Tenor Saxophone – Boney James
Vocals – Al Jarreau
Written-By – George Duke
9 Brazilian Love Affair / Up From The Sea / It Arose And Ate Rio In One Swift Bite 4:46
Backing Vocals – Fred Martin, Katriz Trinidad, Patrick Lundquist, Porcha Clay
Bass – Stanley Clarke
Drums – John Robinson
Featuring – Dianne Reeves
Guitar – Paul Jackson Jr.
Keyboards – Patrice Rushen
Percussion – Lenny Castro
Producer – John Burk, Stanley Clarke
Producer [Additional] – Chris Dunn
Vocals – Al Jarreau, Dianne Reeves
Written-By – George Duke
10 You Touch My Brain 4:44
Backing Vocals – Patrick Lundquist
Bass – Marcus Miller
Drums – John Robinson
Featuring – Dr. John
Guitar – Jubu
Keyboards – John Beasley
Producer – John Burk, Marcus Miller
Vocals – Al Jarreau
Vocals, Piano – Dr. John
Written-By – George Duke

THE JAMAICA BOYS — J Boys (1990) FLAC (tracks+.cue), lossless

Although marketed in rap circles, The Jamaica Boys were really more of a fusion trio with composer/multi-instrumentalist Marcus Miller, drummer Lenny White, and singer Mark Stevens combining forces. They made pleasant music, and occasionally Miller would come up with an inspired riff. But the most distinctive thing about this album in retrospect was the fact that Stevens was Chaka Khan's brother. Ron Wynn 
Tracklist :
1.  Move It! 5:25
Written-By – Lenny White, Marcus Miller, Mark Stevens
2.  Shake It Up! 4:10
Voice [Party, Additional] – Adam Dorn, Billy "Spaceman" Patterson, Karen Anderson, Lisa Tesoro, Maria Marshall
Written-By – Bernard Wright, Lenny White, Marcus Miller
3.  You've Got A Friend  7:04
Written-By – Carole King
4.  Serious  6:00
Written-By – Bernard Wright, Dinky Bingham, Lenny White, Marcus Miller
5.  Pick Up The Phone  4:27
Voice [Girl's] – Jennifer Ingle
Written-By – Howard King, Mark Stevens
6.  Hold On (I'm On M'y Way)  5:48
Written-By – Lenny White, Marcus Miller
7.  Somebody Like You  5:41
Written-By – Lenny White, Marcus Miller
8.  The Jungle Comes Alive  2:42
Written-By – Lenny White, Marcus Miller
9.  That's Deep 5:46
Voice [Additional] – Bruce Miller, Cliff Braithwaite, Jason Miles, Paul Angelli, Rich Hilton, Ron McQuaig, UE Nastasi
Written-By – Bernard Wright, Lenny White, Marcus Miller
Credits :
Bass, Keyboards, Vocals, Producer – Marcus Miller
Drums, Percussion – Lenny White
Guitar – Billy "Spaceman" Patterson (tracks: 2, 6, 7 
Keyboards, Lead Vocals – Dinky Bingham
Keyboards, Vocals [Additional] – Bernard Wright
Percussion [Additional] – Steve Thornton (tracks: 4) 
Programmed By [Synthesizer] – Jason Miles, Lenny White, Marcus Miller
Voice [Additional Party Voices] – Adam Dorn (tracks: 2), Billy "Spaceman" Patterson (tracks: 2), Karen Anderson (tracks: 2), Lisa Tesoro (tracks: 2), Maria Marshall (tracks: 2) 
Voice [Additional] – Bruce Miller (tracks: 9), Cliff Braithwaite (tracks: 9), Jason Miles (tracks: 9), Paul Angelli (tracks: 9), Rich Hilton (tracks: 9), Ron McQuaig (tracks: 9), UE Nastasi (tracks: 9) 
Voice [Girls Voice] – Jennifer Ingle (tracks: 5) 

JACO PASTORIUS BIG BAND — Word Of Mouth Revisited (2003) Two Version | FLAC (image+.tracks+.cue), lossless

Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself. So why does a vague disenchantment haunt these performances? Perhaps it's because these players, great as they are, are still emulating more than discovering. Some imitate even the nuances of the Pastorius tone and phrasing, as does Richard Bona on "Punk Jazz" -- which, of course, may be a form of tribute in this context. On an opposite extreme, the light-speed, staccato hailstorm unleashed by Victor Wooten on "Teen Town" is fundamentally unmusical, focusing on the player more than the material being played -- which is, come to think of it, the real revelation here. Pastorius' tunes reflect a compositional maturity that wasn't always evident in the more improvisational context of Weather Report, and his arrangements -- notably an idiosyncratic treatment of "Killing Me Softly" and the marimba-flavored exotica of "Opus Pocus" -- suggest that had he had more time, he would have written history with his pen as much as his performance. One complaint: the samples of Pastorius' voice, chopped into microbits that carry no meaningful content and seem intended to function as objects of postmodern reflection, if not reverence. All these interruptions accomplish is to remind you that some artists speak most eloquently without words. Robert L. Doerschuk
Tracklist :
1. Jaco Speaks 0:07
2. Havona 5:19
 Arranged By – Larry Warrilow
Bass – Jimmy Haslip
Written-By – Jaco Pastorius
3. Teen Town 4:10
 Arranged By – Larry Warrilow
Bass – Victor Wooten
Written-By – Jaco Pastorius 
4. Jaco Speaks 0:04
5. Punk Jazz 5:03
 Bass – Richard Bona
Tenor Saxophone – Mike Scaglione
Written-By, Arranged By – Jaco Pastorius
6. Jaco Speaks 0:05
7. Barbary Coast 5:55
 Arranged By – Larry Warrilow
Bass – Gerald Veasley
Written-By – Jaco Pastorius
8. Killing Me Softly 4:22
 Arranged By – Jaco Pastorius
Bass – Jeff Carswell
Written-By – Charles Fox, Norman Gimbel
9. Jaco Speaks 0:05
10. (Used to Be A) Cha Cha 6:54
 Arranged By – Dan Bonsanti
Bass – Victor Bailey
Written-By – Jaco Pastorius
11. Wiggle Waggle 5:46
 Arranged By – Stan Webb
Bass – Jaco Pastorius
Written-By – Herbie Hancock
12. Jaco Speaks 0:10
13. Continuum 3:23
 Bass – Jimmy Haslip
Written-By, Arranged By – Jaco Pastorius 
14. Jaco Speaks 0:04
15. Elegant People 6:29
 Arranged By – Jaco Pastorius
Bass – Gerald Veasley
Drums [Hand Drums] – Bobby Thomas Jr.
Written-By – Wayne Shorter
16. Opus Pocus 5:16
 Arranged By – Larry Warrilow
Bass – David Pastorius
Marimba – Gary Mayone
Written-By – Jaco Pastorius
17. Peter & Jaco Speak 0:47
18. Domingo 6:44
 Bass – Victor Bailey
Written-By, Arranged By – Jaco Pastorius
19. Forgotten Love 4:01
 Arranged By – Larry Warrilow
Bass – Christian McBride
Flute – Mike Scaglione
Written-By – Jaco Pastorius
20. Jaco Speaks 7:18
21. Punk Jazz Revisited
 Arranged By – Marcus Miller
Bass, Bass Clarinet, Drums, Clavinet, Soprano Saxophone, Scratches – Marcus Miller
Soprano Saxophone – Roger Byman
Trumpet – Michael "Patches" Stewart
Written-By – Jaco Pastorius, Marcus Miller 
Line-up / Musicians
Victor Bailey, Jaco Pastorius, Jimmy Haslip, Gerald Veasley, Marcus Miller, Christian McBride, Victor Wooten, Richard Bona, Jeff Carswell, Dave Pastorius - Bass 
Randy Bernsen - Guitar, Koto 
Peter Graves - Conductor 
Joe Zawinul - Keyboards 
Michael Brignola - Flute, Bass Clarinet, Baritone Sax, Woodwinds
Ed Calle - Clarinet, Soprano Sax, Tenor Sax, Woodwinds
Kenneth Faulk - Trumpet, Flugelhorn, Brass 
Michael Levine - Synthesizer, Piano, Keyboards 
Billy Ross - Flute, Piccolo, Alto Sax, Soprano Sax, Woodwinds
Dana Teboe - Trombone, Brass 
John Kricker - Bass Trombone, Brass 
Mike Scaglione - Flute, Tenor Sax 
Jason Carder, Jeff Kievit - Trumpet, Flugelhorn 
Mark Griffith - Drums
Gary Keller - Clarinet, Flute, Alto Sax, Tenor Sax 
Gary Mayone - Marimba 
Michael "Patches" Stewart - Trumpet 
Bobby Thomas, Jr. - Hand Drums
Roger Byman - Soprano Sax

BILL EVANS — The Alternative Man (1986) FLAC (tracks+.cue), lossless

The fact that Bill Evans' years as a Miles Davis sideman had so positive an effect on him is evident on The Alternative Man -- an unpredictable fusion date that, although overproduced at times, is full of spirited blowing and adventurous composing. Ranging from the reggae-influenced "The Path of Resistance" to the addictive "Let the Juice Loose!" to the angular "Jojo," Evans' material is consistently impressive. A Michael Brecker disciple but definitely his own man, Evans tends to be robust and aggressive on tenor and more reflective on soprano. Guest John McLaughlin (electric guitar) is characteristically persuasive on the poetic "Flight of the Falcon." Alex Henderson
Tracklist :
1    The Alternative Man 5:45
Bass Guitar – Mark Egan
Drums – Danny Gottlieb
Electric Guitar – Jeff Golub
Keyboards – Mitchel Forman
2    The Path Of Least Resistance 4:37
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards – Clifford Carter
Percussion – Manolo Badrena
Vocals, Composed By – Clifford Carter
3    Let The Juice Loose 5:40
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Hiram Bullock
Percussion – Manolo Badrena
Trumpet – Lew Soloff
4    Gardiners Garden 4:30
Bass – Mark Egan
Electric Guitar, Composed By – Chuck Loeb
Percussion – Danny Gottlieb
5    Survival Of The Fittest 3:25
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena
6    Jojo 6:21
Composed By – Rich Meitin
Drums – Danny Gottlieb
Electric Guitar – Sid McGinnis
Keyboards, Composed By – Clifford Carter
Percussion – Manolo Badrena
7    The Cry In Her Eyes 5:41
Bass Guitar – Marcus Miller
Drums – Danny Gottlieb
Electric Guitar – Dave Hart, Hiram Bullock
8    Miles Away 5:24
Bass Guitar – Marcus Miller
Drums – Al Foster
9    Flight Of The Falcon 7:23
Acoustic Guitar – John McLaughlin
Bass – Mark Egan
Drums – Danny Gottlieb
Grand Piano – Mitchel Forman
Keyboards – Clifford Carter
Percussion – Manolo Badrena

Grover Washington, Jr. — Winelight (1980-2014) RM | Serie Fusion Best Collection 1000 | FLAC (tracks+.cue), lossless

Grover Washington, Jr., has long been one of the leaders in what could be called rhythm & jazz, essentially R&B-influenced jazz. Winelight is one of his finest albums, and not primarily because of the Bill Withers hit "Just the Two of Us." It is the five instrumentals that find Washington (on soprano, alto, and tenor) really stretching out. If he had been only interested in sales, Washington's solos could have been half as long and he would have stuck closely to the melody. Instead he really pushes himself on some of these selections, particularly the title cut. A memorable set of high-quality and danceable soul-jazz. Scott Yanow

Tracklist  :
1    Winelight 7:32
Written-By – William Eaton
2    Let It Flow (For "Dr. J") 5:52
Written-By – Grover Washington, Jr.
3    In The Name Of Love 5:26
Written-By – Ralph MacDonald, William Salter
4    Take Me There 6:16
Written-By – Grover Washington, Jr.
5    Just The Two Of Us 7:23
Written-By – Bill Withers, Ralph MacDonald, William Salter
6    Make Me A Memory (Sad Samba) 6:32
Written-By – Grover Washington, Jr.
Credits :
Backing Vocals – Hilda Harris, Ullanda McCullough, Yvonne Lewis
Bass – Marcus Miller
Clavinet – Paul Griffin (tracks: 1), Raymond Chew (tracks: 1)
Congas, Percussion, Electronic Drums [Syndrums] – Ralph MacDonald
Drums – Steve Gadd
Electric Piano [Fender Rhodes] – Paul Griffin (tracks: 2, 4), Richard Tee (tracks: 1, 3, 5, 6)
Guitar – Eric Gale
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Grover Washington, Jr.
Steel Drums – Robert Greenidge
Synthesizer [Oberheim 8-Voice] – Ed Walsh
Synthesizer [Oberheim] – Bill Eaton (tracks: 5)
Technician [Steel Drums Tuned By] – Rudolph Charles
Vocals – Bill Withers (tracks: 5)

MARCUS MILLER — Renaissance (2012) FLAC (tracks+.cue), lossless

Marcus Miller's career as a sideman, composer, and producer in jazz, R&B, and pop has been prolific. He's continuously pushed boundaries in order to blur and integrate genres. Renaissance is his first studio recording in five years (Free was released in 2007 in Europe and Japan, then re-released in the United States as Marcus in 2008). Renaissance's title reflects the idea that music needs a rebirth to keep up with the creative possibilities afforded by technology, and to reflect the ever-shifting, politically charged cultural landscape. The manner in which he posits this is anything but theoretical, however. Renaissance may be the most emotive offering in Miller's catalog. Groove and firepower are near constants here. Jazz-funk, R&B, rock, post-bop, club-jazz, and more come together in a wide-ranging collection that is deeply focused and expertly sequenced. Using a revolving cast whose core is alto saxophonist Alex Han, guitarist Adam Agati, and keyboardist Federico Gonzalez Peña, guests include trumpeters Maurice Brown and Sean Jones, organist Bobby Sparks, and more. Things get off to a skittering start on "Detroit," with Miller's bass riding heard over a knotty jazz-funk groove. Louis Cato's drums accent breaks in key sections, the souled-out horns highlight the choruses, and Agati's guitar nastily accents it all while Han's alto solo is a monster. The cover of "Slipping Into Darkness" melds Kris Bowers' piano and Sparks' organ with hand percussion, both trumpets, and Miller's funky reggae groove. The melody accents syncopation on the backbeat before weaving Bob Marley's and Peter Tosh's "Get Up, Stand Up" in as a logical yet surprising extension. Bowers' knotty piano solo illustrates the wide possibilities for jazz improvisation. "Jekyll & Hyde" combines alternate passages of elegant, soulful contemporary jazz with riff-driven rock as Agati and Miller complement and push one another. "Revelation" is a rumbling modal jam with funky highlights and fine soloing by Han. "Gorée (Go-ray)," with Miller on bass clarinet, is a lilting, post-bop ballad with lovely melodic interplay; it was inspired by his visit to the House of Slaves on Gorée Island, his feelings standing inside and reflecting on the horror of the slave experience. It's emotional quality contains numerous dimensions. It is a meditation on how the ends of the lives of these slaves as they knew them also birthed of the African-American experience, one of continued struggle that culturally evolved and transfromed into diverse musical forms that bore witness to tragedy but also triumph as the art created from this history has brought joy and meaning to individuals and societies across globe. Its tenderness and equanimity tells the whole story. "Cee-Tee-Eye," while a thoroughly contemporary jazz tune, pays excellent tribute to the inspiration of Creed Taylor's label. The set closer, a simple reading of "I'll Be There," showcases the bassist's gift for lyricism and understatement. Renaissance is a lofty title, but the inspired performances Miller puts on offer get very close to delivering on the ambition it promises. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Detroit 5:44
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – David Isaac
Piano, Electric Piano [Fender Rhodes] – Kris Bowers
Trumpet – Maurice Brown  
Written-By – Marcus Miller
2 Redemption 6:09
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Electric Piano [Fender Rhodes] – Frederico Gonzalez Peña
Guitar – Adam Rogers 
Mixed By – David Isaac
Trumpet – Sean Jones 
Written-By – Marcus Miller
3 February 4:15
Acoustic Guitar – Adam Rogers 
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums, Djembe – Louis Cato
Mixed By – David Isaac
Piano – Frederico Gonzalez Peña
Trumpet – Maurice Brown 
Written-By – Marcus Miller
4 Slippin' Into Darkness 9:15
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Rogers 
Mixed By – David Isaac
Organ – Bobby Sparks
Percussion – Ramon Yslas
Piano – Kris Bowers
Trumpet – Sean Jones 
Trumpet [Muted] – Maurice Brown 
Written-By – Morris DeWayne Dickerson, Charles Miller, Harold Ray Brown, Howard E. Scott, Lee Oskar, LeRoy L. Jordan, Sylvester Allen
5 Setembro (Brazilian Wedding Song) 6:38
Alto Saxophone – Alex Han
Bass [Fretless], Bass Clarinet, Double Bass [Acoustic Bass] – Marcus Miller
Drums – Louis Cato
Electric Piano [Fender Rhodes], Piano – Frederico Gonzalez Peña
Featuring – Gretchen Parlato, Rubén Blades
Mixed By – David Isaac
Percussion – Ramon Yslas
Vocals – Gretchen Parlato, Rubén Blades
Written-By – Gilson Peranzzetta, Ivan Lins
6 Jekyll & Hyde 6:30
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Rogers 
Mixed By – David Isaac
Organ – Bobby Sparks
Piano – Frederico Gonzalez Peña
Trumpet – Sean Jones 
Written-By – Marcus Miller
7 Interlude: Nocturnal Mist 1:16
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – David Isaac
Percussion – Ramon Yslas
Piano – Frederico Gonzalez Peña
Written-By – Luther "Mano" Hanes
8 Revelation 4:46
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – David Isaac
Percussion – Ramon Yslas
Piano – Frederico Gonzalez Peña
Written-By – Marcus Miller
9 Mr. Clean 5:01
Alto Saxophone – Alex Han
Bass – Marcus Miller
Clavinet, Organ – Bobby Sparks
Drums – Louis Cato
Electric Piano [Fender Rhodes] – Frederico Gonzalez Peña
Guitar – Adam Rogers 
Mixed By – Bruce Miller
Trumpet – Sean Jones 
Written-By – Weldon Irvine, Jr.
10 Goreé (Go-ray) 5:38
Acoustic Guitar – Adam Rogers 
Alto Saxophone – Alex Han
Bass Clarinet, Bass – Marcus Miller
Drums – Louis Cato
Mixed By – Taka Honda
Piano – Frederico Gonzalez Peña
Written-By – Marcus Miller
11 CEE-TEE-EYE 7:39
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums, Congas – Louis Cato
Electric Piano [Fender Rhodes] – Kris Bowers
Guitar – Adam Agati, Paul Jackson, Jr.
Mixed By – David Isaac
Trumpet – Maurice Brown 
Written-By – Marcus Miller
12 Tightrope 5:46
Alto Saxophone – Alex Han
Bass – Marcus Miller
Drums – Louis Cato
Guitar – Adam Agati
Mixed By – Taka Honda
Piano – Kris Bowers
Vocals – Dr. John
Written-By – Antwan Patton, Charles Delbert Joseph II, Janelle Monáe Robinson, Nathaniel Irvin III
13 I'll Be There 3:48
Bass – Marcus Miller
Mixed By – Taka Honda
Written-By – Berry Gordy, Jr., Bob West, Freddy Wexler, Hal Davis, Willie Hutchinson

S.M.V. — CLARKE · MILLER · WOOTEN — Thunder (2008) FLAC (tracks+.cue), lossless

Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two. Clarke was no stranger to playing with his fellow bottom dwellers, as he proved on his Night School DVD where he joined with about ten other bassists for an extended version of "School Days." Still, it's amazing how well these guys navigate their strummed, plucked, and thumped parts around each other without clashing. Horns, drums, loops, and keyboards (from guests Chick Corea and George Duke as well as Miller) flesh out the upper registers while Miller's clean, unfussy production also keeps things in order. Acoustic bowed bass and strings on "Milano" shift the sound away from the more rhythmic approach naturally favored on the majority of the tracks. The three amigos take on a Spanish spaghetti Western feel for "Los Tres Hermanos," a refreshing changeup that features some of the disc's most nimble playing and its prettiest melody. Some tunes will be familiar to jazz fans. "Tutu" was written by Miller for Miles Davis and Clarke's "Quiet Afternoon" gets referenced, as does his "Silly Putty," but these versions are quite different than the originals. All three musicians weave their lines together on the lovely ballad "Lil' Victa," with Clarke's high end sounding enough like a guitar to hold down the strong melodic line. The closing "Grits" is a hot slab of funky jazz that gives each a chance to solo over a sparse beat. Although their styles are relatively distinct, it would have been helpful if the liner notes described who was playing which part, especially for newcomers. Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners. Hal Horowitz
Tracklist :
1.    Maestros De Las Frecuencias Bajas 2:52
Bass – SMV
Bass Clarinet, Alto Saxophone, Tenor Saxophone – Marcus Miller
Drums – Ronald Bruner Jr.
Keyboards – Ruslan Sirota
Synthesizer – Ariel Mann
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By, Arranged By – Stanley Clarke
2.    Thunder 6:37
Bass – SMV
Vocals, Voice [Voice Trumpet], Human Beatbox – Butterscotch
Written-By, Synthesizer, Programmed By – Marcus Miller
3.    Hillbillies On A Quiet Afternoon 6:11
Bass – SMV
Clavinet – George Duke
Drums – Derico Watson
Synthesizer – Marcus Miller
Written-By – Stanley Clarke, Victor Wooten
4.    Mongoose Walk 5:57
Bass – SMV
Drums – Derico Watson
Percussion – Kevin Ricard
Piano – Chick Corea
Written-By – Stanley Clarke, Victor Wooten
Written-By, Synthesizer, Keyboards – Marcus Miller
5.    Los Tres Hermanos 5:25
Bass – SMV
Drums – Poogie Bell
Percussion – Kevin Ricard
Written-By, Synthesizer – Marcus Miller
6.    Lopsy Lu - Silly Putty 6:12
Arranged By – Victor Wooten
Arranged By, Synthesizer, Programmed By – Marcus Miller
Bass – SMV
Drums – Poogie Bell
Keyboards – George Duke
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By – Stanley Clarke
7.    Milano 4:21
Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Percussion – Kevin Ricard
Written-By, Bass, Synthesizer – Marcus Miller
8.    Classical Thump 4:50
Arranged By, Bass – Marcus Miller
Written-By, Arranged By, Bass – Victor Wooten
9.    Tutu 5:04
Arranged By, Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Drums – J.D. Blair
Keyboards – Karlton Taylor
Vocals – Butterscotch
Written-By, Arranged By, Bass, Bass Clarinet, Synthesizer, Programmed By – Marcus Miller
10.    Lil' Victa 4:10
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By – Stanley Clarke
11.    Pendulum 4:15
Bass – SMV
Human Beatbox – Butterscotch
Written-By – Antoinette Clinton, Stanley Clarke, Victor Wooten
Written-By, Synthesizer – Marcus Miller
12.    "Lemme Try Your Bass" 0:57
Written-By, Bass – Marcus Miller, Stanley Clarke
13.    Grits 5:24
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By, Synthesizer – Marcus Miller

JOE SAMPLE — The Hunter (1983) FLAC (tracks+.cue), lossless

Joe Sample returns to the smooth jazz style of his popular albums Rainbow Seeker, Carmel, and Voices in the Rain on 1983's The Hunter. The keyboardist fills up a studio with like-minded session musicians including trumpeter Tom Browne, horn players Chuck Findley, Jerry Hey, and Ernie Watts, guitarists Dean Parks, David Spinozza, and Phil Upchurch, bassists Abraham Laboriel and Marcus Miller, percussionist Paulinho Da Costa, and drummer Steve Gadd, and sets them loose on some rhythmic tracks with a rock/R&B feel. The beat is paramount, a constant augmented by funky, popping basslines, with guitar solos and horn charts overlaid. And, weaving in and out is Sample, on either acoustic or electric piano, finding room to solo extensively. The solos are more of the rock variety than what a conventional jazz fan would recognize, since they are anchored to the relentless beats. But Sample is one of the more accomplished players in smooth jazz, and his sidemen are able to support him and, when given the chance, match him in their playing. William Ruhlmann    Tracklist & Credits :

JOE SAMPLE — Spellbound (1989) FLAC (tracks+.cue), lossless

With the supremely funky rhythm section of Marcus Miller (bass), Lenny Castro (percussion) and Omar Hakim (drums) propelling his piano most of the way -- the other ringers on a few tracks aren't bad either -- you would think that Joe Sample couldn't miss on this solo outing, Spellbound. Indeed, his distinctive piano cannot be mistaken for anyone else's, free of the usual mainstream influences and always a pleasure to groove to. And yet there is something too comfortable, too settled, too automatic about the musicmaking here, as if the grooves are being smothered by a warm, snuggly electric blanket. Another problem is the material; not much leaps into your memory banks. Nor is it meant to, perhaps, since the gently sustained electronic textures suggest that this is, above all, high-class background music. Al Jarreau, Michael Franks and Take 6 -- all Warner Bros. signees, natch -- put in characteristic cameo vocal appearances on one track apiece, and a background choir sings "Luna en New York" in Spanish. Richard S. Ginell
Tracklist & Credits :

JOE SAMPLE — Ashes to Ashes (1990) WV (image+.cue), lossless

Joe Sample's recordings throughout much of his career have been consistent and quite interchangeable. Backed by a semi-metronomic if usually grooving rhythm section, Sample's acoustic piano on this Warner Bros. CD is almost always in the lead, playing easy listening jazz-pop; nothing memorable or unique occurs. The lightweight melodies are quite easy to take (serving as excellent background music), but it is a pity that Joe Sample has often seemed satisfied to stay at this unimaginative level, emulating Ramsey Lewis. Scott Yanow   Tracklist & Credits :

JOE SAMPLE — Sample This (1997) FLAC (tracks+.cue), lossless

In case anyone has forgotten how ingratiating and prolific Joe Sample the songwriter has been, the master of elegant funk re-records 14 songs here. And it is a cooler, more reflective light in which Sample and producer George Duke see his old tunes in the '90s: with relaxed, uncomplicated, to-the-point acoustic piano leads; a mildly percolating beat; and a veneer-thin garnish of electronics. It is both safe and risky to revisit the past -- safe because one is surrounded by comfortable material and risky because artists seldom recapture all of the old spark. Alas, more often than not, the latter applies to Sample's attempt to go home again, though the good tunes remain good tunes. Some of the songs go back to the Crusaders; "Free as the Wind" especially lacks the energy of the original, but "Put It Where You Want It," thanks in part to Sample's use of a funky old Wurlitzer electric piano, has a nice groove. Finally, just for fun, Sample slips in a jaunty solo benediction courtesy of Jelly Roll Morton, "Shreveport Stomp." Richard S. Ginell
Tracklist & Credits :

LONNIE LISTON SMITH - Loveland (1978-2016) Crossover & Fusion Collection 1000 / RM / FLAC (image+.cue), lossless

Lonnie Liston Smith moved from RCA to Columbia with Loveland, an LP that is sleek and commercial but not without heart or creativity. While Loveland fared well among fans of fusion, crossover and R&B, the keyboardist had long since lost the attention of acoustic jazz's hardcore, which asserted that he had turned his back on his roots and was no longer playing jazz. But in fact, jazz is essentially what Smith is playing on Loveland, although it's jazz mixed with soul, funk and pop. "We Can Dream "(which features Donald Smith on vocals) is strictly R&B, but instrumentals like "Sunburst," "Explorations" and "Springtime Magic" are basically an extension of the spiritual post-bop Smith had played with Pharoah Sanders, Rahsaan Roland Kirk and Gato Barbieri. In fact, one of the high points of this LP is an interpretation of Kirk's "Bright Moments." On these spiritual performances, Smith isn't divorcing himself from the influence of Sanders, Kirk, John Coltrane and McCoy Tyner--he's simply combining it with a passion for soul and pop. Loveland falls short of the excellence of Expansions, Visions of a New World or Astral Traveling, but it's still an enjoyable collection of mood music.  by Alex Henderson 
Tracklist :
1 Sunburst
2 Journey Into Love
Marcus Miller
3 Floating Through Space
Lonnie Liston Smith
4 Bright Moments
Rahsaan Roland Kirk
5 We Can Dream
Marcus Miller
6 Springtime Magic
7 Love Land
Lonnie Liston Smith
8 Explorations
David Hubbard / Lonnie Liston Smith
Credits :
Lonnie Liston Smith - electronic keyboards, acoustic piano
Ronald D. Miller - electric guitar, acoustic guitar
David Hubbard - soprano saxophone, flute
Donald Smith - flute, vocals
Al Anderson, Marcus Miller - bass
Lawrence Killian - congas, percussion
George Johnson - drums

BILL EVANS - Escape (1996) FLAC (tracks+.cue), lossless

From Miles Davis' Doo-Bop to albums by Greg Osby and Steve Coleman, much of the "jazz/rap fusion" released has been more hip-hop than jazz -- essentially, hip-hop with jazz overtones. Bill Evans, however, has featured rappers in much the way a hard bopper would feature a singer -- on "Reality" and the poignant, reggae-influenced "La Di Da," rapper Ahmed Best successfully interacts with an actual, spontaneous, improvisatory band instead of merely pre-recorded tracks. Best's rapping style -- a cerebral approach akin to De La Soul and A Tribe Called Quest instead of more hardcore rappers like Tupac Shakur and Ice-T -- is well-suited to this challenging and complex jazz-fusion setting. On the instrumental side, Escape's triumphs range from the hard-edged jazz-funk pieces "Undercover" and "Rattletrap" to the sensuous, Brazilian-influenced "Coravillas." Though capable of tenderness and vulnerability, Evans has the good sense to avoid bloodless "smooth jazz" altogether. by Alex Henderson

Tracklist:
1    Swing Hop 5:34
Drums – Billy Kilson
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trombone – Ken Meccia
Trumpet – Wallace Roney
Vocals – Loni Groves, Mark Ledford, Robin Beck
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
2    Escape 5:59
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Scratches – Max Risenhoover
Soprano Saxophone, Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
3    Reality 6:19
Backing Vocals – Mark Ledford
Drums – Billy Kilson
Electric Bass – Ron Jenkins
Guitar – Gary Poulson
Keyboards, Drum Programming – Jim Beard
Percussion, Backing Vocals – Manolo Badrena
Soprano Saxophone – Bill Evans
Words By, Rap – Ahmed Best
Written-By – Bill Evans
4    The Sunday After 6:00
Backing Vocals – Mark Ledford
Electric Bass – Mark Egan
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
5    Rattletrap 4:36
Bass – Ron Jenkins
Drums – Steve Ferrone
Guitar – Gary Poulson
Organ [Hammond B-3] – Jim Beard
Tenor Saxophone, Alto Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans
6    Flash In Dreamland 5:17
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Soprano Saxophone – Bill Evans
Vocals – M.C. 900 Ft Jesus
Words By – Mark Griffin
Written-By – Bill Evans, Jim Beard
7    Coravilas 7:39
Backing Vocals – Loni Groves, Mark Ledford, Robin Beck
Guitar – Jon Herington
Keyboards, Bass, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Written-By – Bill Evans, Jim Beard
8    Easilee 4:55
Bass – Victor Bailey
Drums – Steve Ferrone
Guitar [Lead] – Lee Ritenour
Keyboards – Jim Beard
Percussion – Manolo Badrena
Rhythm Guitar – Jon Herington
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
9    Undercover 5:26
Drums – Steve Ferrone
Electric Bass – Marcus Miller, Ron Jenkins
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Tenor Saxophone, Alto Saxophone – Bill Evans
Written-By – Bill Evans
10    La Di Da 5:55
Backing Vocals – Mark Ledford
Bass – Victor Bailey
Drums – Jim Beard, Max Risenhoover
Guitar – Jon Herington
Keyboards – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Strings – Chelsea Orchestra
Words By, Rap – Ahmed Best
Written-By – Bill Evans, Jim Beard
11    Armsakimbo 4:38
Bass – Victor Bailey
Drums [Additional] – Max Risenhoover
Guitar – Jon Herington
Keyboards, Drum Programming – Jim Beard
Percussion – Manolo Badrena
Soprano Saxophone – Bill Evans
Written-By – Bill Evans, Jim Beard
12    Aftermath 6:15
Backing Vocals – Mark Ledford
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Jon Herington
Keyboards, Programmed By [Bass] – Jim Beard
Tenor Saxophone – Bill Evans
Trumpet – Wallace Roney
Written-By – Bill Evans, Jim Beard
13    Undercover (Remix - Marcus' Mad Flav) 5:30
Drums – Steve Ferrone
Electric Bass – Marcus Miller
Guitar – Gary Poulson
Guitar [Solo] – Nick Moroch
Mixed By – Jim Beard
Organ [Hammond B-3], Loops [Drum] – Jim Beard
Other [Party Vibe] – Bill Evans, Jim Beard, Mark Ledford, Loni Groves, Robin Beck, Nalini
Percussion – Manolo Badrena
Remix – Marcus' Mad Flav
Tenor Saxophone, Alto Saxophone, Written-By – Bill Evans

LENNY WHITE - Streamline (1978-2002) APE (image+.cue), lossless

Lenny White's 1977 recording The Adventures of Astral Pirates was an incredibly tough act to follow -- so tough, in fact, that anything less than a five-star gem was likely to seem a bit disappointing. Streamline, the 1978 LP that came right after The Adventures of Astral Pirates, isn't a five-star gem, but it isn't bad either. Although not in a class with The Adventures of Astral Pirates or 1975's Venusian Summer, let alone White's work with Return to Forever, Streamline is a generally decent, if mildly uneven, collection of instrumental jazz fusion and R&B vocal numbers. While this album (which White produced with Earth, Wind & Fire keyboardist Larry Dunn) isn't as R&B-oriented as White's Twennynine projects would be, the drummer is obviously going after R&B audiences on "Time" (a somewhat Earth, Wind & Fire-ish funk item) and an interesting cover of the Beatles' "Lady Madonna" (which features soul goddess Chaka Khan). But there is also plenty of fusion, and instrumentals like "Night Games," "Struttin'," and the Brazilian-influenced "Pooh Bear" are enjoyable even though they fall short of the brilliance of the material on The Adventures of Astral Pirates and Venusian Summer. While Streamline isn't among White's essential albums, it's a likable set. by Alex Henderson 
Tracklist:
1     Struttin'    4:45
    Synthesizer [Mini Moog] – Larry Dunn
2     Lady Madonna     3:54
    Lead Vocals, Backing Vocals – Chaka Khan
3     12 Bars From Mars     3:10
4     Earthlings     4:48
5     Spazmo Strikes Again     0:25
6     Time     2:58
7     Pooh Bear     5:02
8     Lockie's Inspiration     0:41
9     I'll See You Soon     6:30
    Bass – Marcus Miller
10     Night Games     3:58
11     Cosmic Indigo     0:50
    Bass – Marcus Miller
Credits:
Bass [Basses] – Marcus Miller
Drums, Percussion – Lenny White
Guitar – Jamie Glaser, Nick Moroch
Keyboards – Denzil "Broadway" Miller
Keyboards, Vocals – Donald "Captain Keyboards" Blackman
Programmed By [All Synthesizers] – Larry Dunn
Chaka Khan – lead vocals (track 2)

Diane Reeves – vocals (track 4), background vocals

MILES DAVIS - The Man with the Horn (1981-1996) RM / FLAC (image+.cue), lossless

Miles Davis' first comeback record finds the trumpeter a bit shaky (he would improve album by album during the next few years) and has a few poppish throwaway tracks; it is doubtful if anyone really remembers the title cut or "Shout." But with Bill Evans on soprano and electric bassist Marcus Miller, the other four selections are more rewarding with Davis forming the nucleus of his new band. by Scott Yanow
Tracklist:

1 Fat Time 9:57

2 Back Seat Betty 11:17
3 Shout 5:53
Synthesizer [Mini Moog] – Randy Hall
Synthesizer [Yamaha Cp30] – Robert Irving, III
4 Aïda 8:13
5 The Man With The Horn 6:36
Lead Vocals, Backing Vocals, Guitar, Celesta, Synthesizer [Mini Moog] – Randy Hall
Piano, Synthesizer [Yamaha Cp30] – Robert Irving, III
6 Ursula 10:48
Credits:
Bass [Fender] – Felton Crews (tracks: 3, 5), Marcus Miller (tracks: 1, 2, 4, 6)
Drums – Al Foster (tracks: 1, 2, 4, 6), Vincent Wilburn (tracks: 3, 5)
Guitar – Barry Finnerty (tracks: 2 to 4, 6), Mike Stern (tracks: 1)
Percussion – Sammy Figueroa (tracks: 1 to 4, 6)
Soprano Saxophone – Bill Evans (tracks: 1, 2, 4 to 6)
Written-By, Arranged By – Miles Davis (tracks: 1, 2, 4, 6), Randy Hall (tracks: 3, 5), Robert Irving, III

MILES DAVIS - We Want Miles (1982-2014) Jazz Collection 1000 – 2CD / RM / FLAC (tracks+.cue), lossless

Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre." by Scott Yanow
Tracklist 1 :
1 - Jean Pierre 10:43
2 - Back Seat Betty 8:17
3 - Fast Track 15:19
4 - Jean Pierre 4:01
- Bonus Track -
5 - Ursula 2:08
6 - Aida 12:19
Tracklist 2 :
1 - My Man's Gone Now 20:17
2 - Kix 18:46
- Bonus Track -
3 - Fat Time 13:07
Credits:
Miles Davis (trumpet and keyboards)
Bill Evans (tenor, soprano saxophone)
Mike Stern (electric guitar)
Marcus Miller (electric bass)
Al Foster (drums)
Mino Cinelu (percussion)